Literally, the title of this piece translates to "the education of Cyrus," though in truth only about the first book or two cover Cyrus's "education," while the others describe the rest of his life. This is meant as a sort of "how to" book on how to rule well, in the form of a biographical treatment of Cyrus, but unlike in The Ten Thousand, Xenophon is not here describing contemporary events, and many historians doubt that this is in more than the most general of ways an accurate depiction of Cyrus's life. Note: by "how to," I mean a book on how to rule as a semi-benevolent authoritarian dictator who is loved and feared by his subjects.
I've actually read this part before, but decided to re-read it in light of my recent reading of Herodotus's Histories, which covered the period about a hundred years or so before the events in The Ten Thousand, and provided a lot of valuable context for understanding what was happening in Xenophon's story. Unlike Herodotus, Xenophon is not writing about history in The Ten Thousand; he is writing a semi-autobiographical account of what happened to him and his companions during a campaign as mercenaries in a decidedly short-lived Persian civil war. Like Caesar in his Commentaries, Xenophon refers to himself in the third person, and the result is perhaps the most story-like and modern-seeming of all the ancient works that I've been reading recently. In fact, Conn Iggulden wrote a historical fiction novella primarily based upon the events in The Ten Thousand, and it was a very interesting experience to read that having already read its primary source.
I don't actually know how much this post will help you in ridding your works of pesky anachronisms, but the title just seemed to clever to resist. If you're not already familiar, an anachronism is a literary, spatial or temporal (usually temporal) transplant. A detail, a phrase, an expression, a device, or really anything else could be an anachronism; most commonly these are stock expressions or devices of our own time that we accidentally put into our works. Nor are they unique to literature, as there are plenty of examples in movies and other media. For instance, perhaps a period movie might show cars from a later model year driving around in the background. Or my personal favorite, when an author or screenwriter has archers "fire" their arrows, an expression which could not predate the advent of firearms. This last one even made its way into The Lord of the Rings movies (notably during the battle at Helm's Deep).
The Histories themselves are split up into nine books, which more or less focus on the Greco-Persian conflicts of that time period, with numerous digressions to talk about the history of Egypt, Babylon, or other places that come up.
When I first started trying to write speculative fiction, way back when I was in the fifth grade, I spent a lot of time struggling with names. There were a whole lot of aspects of writing that I was terrible at during that time, but naming is what I was aware of needing improvement. My only ideas of how naming ought to be done came from the books that I read, and so my names in some ways read like classic fantasy names, except that I wanted to make sure that I wasn’t too close to any “real” fantasy name, so my names were even less pronounceable.